There are three things, after all, that a poem must reach: the eye, the ear, and what we may call the heart or the mind. It is the most important of all to reach the heart of the reader.
I was under twenty when I deliberately put it to myself one night after good conversation that there are moments when we actually touch in talk what the best writing can only come near. The curse of our book language is not so much that it keeps forever to the same set phrases . . . but that it sounds forever with the same reading tones. We must go out into the vernacular for tones that haven't been brought to book.
Two such as you with such a master speed, cannot be parted nor be swept away, from one another once you are agreed, that life is only life forevermore, together wing to wing and oar to oar.
When I was young, I was so interested in baseball that my family was afraid I'd waste my life and be a pitcher. Later they were afraid I'd waste my life and be a poet. They were right.
There is the fear that we shan't prove worthy in the eyes of someone who knows us at least as well as we know ourselves. That is the fear of God. And there is the fear of Man -fear that men won't understand us and we shall be cut of from them.
I have wished a bird would fly away,
And not sing by my house all day;
Have clapped my hands at him from the door
When it seemed as if I could bear no more.
The fault must partly have been in me.
The bird was not to blame for his key.
And of course there must be something wrong
In wanting to silence any song.
The style is the man. Rather say the style is the way the man takes himself; and to be at all charming or even bearable, the way is almost rigidly prescribed. If it is with outer seriousness, it must be with inner humor. If it is with outer humor, it must be with inner seriousness. No other way will do.